Approval neither desired nor required

“To Wong Foo, Thanks for Everything Julie Newmar” raises many interesting points in response to Matt’s question about perpetuating and challenging norms in film. In terms of queer theory, “To Wong Foo, Thanks for Everything Julie Newmar” challenges many norms in terms of gender and sexuality. Though there are instances in the beginning of the film where gender and sexual stereotypes are played up, such as the attempted sexual assault of Vida, the recognition of these norms is necessary in breaking them down later. The breakdown of sexuality stigmas are shown in the characterization of Sherriff Dollard. He is so over the top and ignorant with his assumptions about homosexual (i.e. his list of hangouts) that the viewer is led to disagree with him at all times. Similarly, at the beginning of the movie, the local men treat the women as inferior beings, seen in Chi Chi’s near rape and cat calls. Unlike Sherriff Dollard, these young men eventually transform with the help of the other, in this case the three drag queens.

In terms of race, however, the film still plays into stereotypes and racial norms, which make Wesley Snipes’ character especially interesting. First off, there are multiple references to America’s racial history, including, “Gone with the Wind” and Rosa Parks. These references are said by Noxema, the black drag queen. It is in these instances that Noxema’s gaze and agency go through what Bell Hooks describes as “rupture”. She is aware of her gender, race and sexuality and when confronted by threatening or othering situations, like being in a small southern town, she recognizes and comments on her awareness.

On the other hand, Patrick Swayze/Vida, the white man, becomes the de facto leader. And though Wesley Snipes has agency, he only exerts power over the other minority, in this case a Latino (John Leguizamo). And though he is presented as Patrick Swayze’s equal, despite Swayze’s self imposed responsibility and leadership over Chi Chi, Snipes race comes into play in the small rural town whereas Chi Chi and Vida’s never do. In this sense, Noxema must deal with two hurdles, whereas, the other drag queens have only one. Also seen in Bell, Noxema’s choice to resist helping Vida in her quest to assist Chi Chi, shows her oppositional gaze as she is unable to identify with either character (Bell, 316). She reluctantly assists later but, I feel, due to their shared sexuality and wardrobe preferences, not her race.